Studio

Studio — marelibri

Studio on Fire : Iron Beasts Make Great Beauty

2011Best.-Nr. 94163Gestalten. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 144 pages. Description: "Studio On Fire is at the forefront of the current letterpress movement—the rediscovery of old printing machines and techniques by young designers. The phenomenal detail and haptic sensuousness of their work have made this Minnesota-based company a seminal reference for how to effectively blend current and classical graphic design styles with production methods. " -- with a bonus offer--; Studio On Fire is at the forefront of the current rediscovery of old printing machines and techniques by young designers. Young designers and typographers are currently rediscovering traditional printing methods and using them to give their work a special handcrafted quality. Studio On Fire is a design studio workshop and printer all rolled into one. Founded and managed by Ben Levitz the Minnesota-based company not only belongs to the trailblazers of this movement but has also become a seminal representative of how to effectively blend current and classical graphic design styles and techniques. Studio On Fire is the logical consequence of Levitz's life-long passion for everything related to design printing and paper. Since his youth he has collected old printing presses and over the years learned to master the challenging design processes associated with labor-intensive techniques including letterpress screen printing hot foil stamping and blind embossing. Studio On Fire's designs and products are distinguished by a phenomenal richness and attention to detail. Today an impressive list of clients appreciates the haptic sensuousness of their work. This book is a collection of Studio On Fire's own work as well as projects commissioned by designers artists agencies private clients and brands. The designs are done in a wide range of formats such as placards posters books flyers folders business cards and wallpaper. From unique wedding invitations to printed art the examples included here show the inspiring results of seamlessly melding traditional techniques and handicraft with contemporary design. . 2011. 3899553810 . Gestalten hardcover

AB Books · Vereinigte Staaten1.976,00 $≈ 1.761,93 €

Joshi Studio, Rajkot, India (photographer); HH Thakore Saheb Shri Jorawarsinhji Dipsinhji Jadeja of Dhrol, provenance H HBiblio.com

Installation of Jorawarsinhji Jadeja as the Thakore of Kathiawar Dhrol India. A collection of original photographs from 1937.

Best.-Nr. 16-5820Dhrol Kathiawar India: 1937. Oblong folio album 530 x 420 mm depicting the installation festivities for the Thakore of Dhrol held on August 30 1937. Contemporary padded red morocco stamped and titled "Installation Festivities Dhrol Kathiawar" in gilt. Binding heavily rubbed with partial erasure of gilt lettering from upper cover contents somewhat loose boards heavily chipping and separating.Photographs depict all aspects of the society and community: Family notables servants military vernacular and royal architecture vehicles animals residents.Installation Festivities Kathiawar. Dhrol.Photograph album containing 128 black and white photos mounted on board leaves most 220 x 150 mm some 300 x 240 mm.A presentation album with the name of the recipient erased from the cover in celebration of the installation of H.H Thakore Saheb Shri Jorawarsinhji Dipsinhji Jadeja of Dhrol in August 1937. Shri Jorawarsinhji Dipsinhji Jadeja held the title of Thakore of Dhrol State—a British protectorate—for just two years until his death in 1939. His successor would be the last to hold the title which became extinct with the Union of India in February 1948.Before the arrival of Jadejas in Saurashtra the town of Dhrol was known as Dhamalpur. Dhamalpur was ruled by Chavda King founded & named after Dhamal Chavda who then reigned at Dhamalpur Dhrol obstructed the Jam Hardholji in their conquests and in order to remove this obstruction Jam Hardholji marched against Dhamal Chavda. Dhamal Chavda's army was made of different warrior clans such as Chavda Rathod Chauhan Jadav Jhala Gohil Varsur Makwana Dabhi Khimsurya and Solanki. These clans were not as united as Jadejas. Consequently they were defeated and King Dhamal Chavda was killed by Jadejas in 1539.Dhrol State became a British protectorate in 1807. During the British rule of India Dhrol State was a princely state of India ruled by the Jadeja dynasty having an area of 732 sqkm and 71 villages under its rule. It was accorded 9-gun salute status and a privy purse of 110000/-.The last ruler HH Thakore Saheb Shri Chandrasinhji Dipsinhji Jadeja acceded to the Union of India on 15 February 1948. Dhrol, Kathiawar, India: 1937 hardcover

Alan Wofsy Fine Arts · Vereinigte Staaten2.000,00 $≈ 1.783,33 €

[JAPAN - STUDIO PHOTO ALBUM] TAMAMURA, KOZABUROBiblio.com

Japanese Photograph Album of the Late Meiji Period.

1890Best.-Nr. 215089Japan. Circa1890s. 50 hand-tinted albumen prints 30 captioned with studio stock references mounted on thick gilt-edged card leaves19.5 x 25 cm in an album 27.5 x 35 cms; elaborately lacquered boards scuffed and chipped inlaid with mother of pearl with loss over quarter calf renewed bevelled edges gilt dentelles endpapers gilt-flecked some fading and spotting to the images and toning to the margins of the card leaves but a very good handsomely bound collection. Beautiful studio album containing a collection of 50 hand coloured photos of Japan with a splendid lacquered and decorated cover. The photos were commercially produced images which were sold to foreign visitors who had the studio place photographs in an album of their choice. This album is unusually interesting because unlike many where photographs were more randomly placed the images have been selected and arranged geographically beginning in Tokyo and moving southwards: Nikko Yokohama Miyanoshita & Hakone Lake Mount Fuji Kyoto Osaka Kobe and Nagasaki. There are fine images and portraits of geisha including an uncaptioned image of geisha seated possibly by the Kamo River in Kyoto entertaining a male guest. A lute is placed on the rice mat together with a tray of beer. One of the geisha is looking straight to camera a striking composition. Another uncaptioned in the Kyoto group is likely to be in Arashiyama shows a sandalled figure on a mountain path overlooking the leisure boating below. There are also images of pagoda fishing rice planting street vendors and markets. More than half the photographs appear to be from the studio of the Yokohama based photographer Tamamura Kozaburo c.1856-192 who at his height was described as "the best photographer in Yokohama". As Terry Bennett has attested Tamamura's business strategy of selling souvenir albums of views and costumes to foreigners became a "winning formula". see Terry Bennett "Early Japanese Images" Tuttle 1996 and "Photography in Japan 1853-1912" Tuttle 2006 . hardcover

Asia Bookroom · Australien2.950,00 AU$≈ 1.837,32 €

CODICE DE POMAR (Estudio critico y antecedentes, por Jose Maria Lopez Pinero)Biblio.com

El "Atlas de Historia Natural" donado por Felipe II a Jaime Honorato Pomar 2 VOLS. Uno es el facsímil del códice el otro es un estudio científico del códice y antecedentes históricos y particulares de la obra por el Prof. José María López Piñero: El códice de Pomar Felipe II y la primera Expedición Científica al Nuevo Mundo / Prólogo por Tomás F. Gilick Boston University

1990Best.-Nr. 47341EDICION FACSIMIL.- Valencia: Vicente García Editores S. A. Imp. en Artes Gráficas Vicent S. A. 1990.- 2 VOLS. El códice consta de 7 h. en blanco 218 láminas a todo color 8 h. en blanco 2 h. con el colofón y el DOY FE de la edición con firma y sello notariales y el estudio tiene 138 p; Gan Folio 347 x 245 cm; El facsímil totalmente compuesto por láminas a todo color e impreso sobre magnífico papel en imitación similar al del original y el estudio bilingüe en español e inglés sobre excelente papel offset satinado de fuerte textura; El facsímil encuadernado exactamente como el original en Plena Piel Pergamino con el lomo dorado con grecas y florones y con ambas tapas plenamente doradas y el estudio encuadernado en Media Piel Pergamino.- Esta edición se compone únicamente de: tres mil ejemplares numerados correlativamente del 1 al 3.000 ambos inclusive siendo este el n.º 613; un ejemplar con destino a S. M. el Rey Don Juan Carlos I; y además sin fines comerciales cincuenta ejemplares que se identificarán con números romanos y otros treinta ejemplares que se identificarán con las letras del abecedario de la A a la Z incluyendo dobles y compuestas. Sigue la autentificación notarial con su firma y sello. Excelentísimo estado de conservación por no decir como nuevo. Este códice pictórico que se conserva en la Biblioteca de la Universidad de Valencia -nos dice el Prof. D. José María López Piñero- es un volumen de de 335 x 23 cm encuadernado en pergamino con adornos dorados. En una de las cubiertas lleva la leyenda "Jardín de Cámara" y el la otra "Retrato de Naturaleza". Tradicionalmente ha venido llamándose sin embargo "Atlas de Historia Natural" denominación con la que fue incluido en el Catálogo de manuscritos existentes en la Biblioteca Universitaria de Valencia publicado en 1913 por Marcelino Gutiérrez del Caño. Consta de 234 hojas de papel del siglo XV como puede verse por sus marcas estando en blanco las seis primeras y las diez últimas. Las restantes 218 contienen dibujos en colores a la acuarela de plantas y animales pintados por una sola cara con la excepción de una que lleva figuras en ambas que corresponde a las páginas numeradas 51-52. En casi todas las hojas hay un solo dibujo; solamente en cinco se incluyen dos o tres. Sesenta dibujos corresponden a animales y los demás a plantas. HISTORIA DEL SIGLO DE ORO ESPAÑOL Libro en español Vicente García Editores, S. A. hardcover

Librería Miguel Miranda · Spanien2.000,00 €

[CHEUNGQUA]. [Studio Or School Of]Biblio.com

A SUITE OF 7 COLOR CHINESE PITH PAINTINGS SHOWING CHINESE WOMAN PLAYING MUSICAL

Best.-Nr. 98101501Canton 1860-80's Cheungqua. A group of 7 pith or Tongcao color paintings usual minimal issues mostly clean & solid sold "as is" as a collection with the typical chips & a few fox spots else very good clean examples. A RARE GROUP ! . . . . A SUITE OF 7 FINE CHINESE COLOR PITH PAINTINGS . . . SHOWING BEAUTIFULLY DRESSED CHINESE WOMEN . . . PLAYING MUSICAL INSTRUMENTS . . . EXECUTED IN STUNNING & BRILLIANT COLORS . . . AKA: CHINESE EXPORT WATERCOLOURS . A group of typical "trade paintings" executed by Chinese native artists for foreign traders visiting Canton or Macao during the early to mid-19th century. . A SUPERB SUITE OF FABULOUS COLOR PITH PAINTINGS: A stunningly beautiful group of hand-painted color pith paintings depicting a woman playing a musical instrument. . "GOLDEN LOTUS" or "LOTUS FEET" BOUND FEET Chanzu: This like most illustrations of the period show the women with bound feet. Chanzu bound feet was an erotic obsession and fetish in ancient China. The erotic ramifications are outlined in the references below. . The paintings illustrate Chinese women in a domestic scene with furniture playing musical instruments. Subjects are: . a. Yue1in Ruan Moon Guitar Moon Zither 4 stringed . b. Yanqin Chinese Dulcimer . c. Sanxian three-stringed Chinese lute . d. Drumming on the back of a Chinese ceramic bowl . e. Dizi Chinese bamboo flute . f. Huqin Chinese violin . g. Tong Luo Chinese Brass Gong . DESCRIPTION OF THE PAINTING ART WORK AND CONDITION: . Each painting is in brilliant vivid and stunning colors. Each is skillfully painted with a fine hand delicate fine-point brush with great detail incredible reality texture and appeal. . As usual the set paintings were tipped to a contemporary backing period Each painting is backed with a contemporary stiff paper or a more current back card. . Items "a" & "b" are matted see cover.jpg & title.jpg photos posted to our website. . Each painting is approximately 21 x 34 cm. most have a blue silk ribbon border partial border or border lacking chipped and the like on has restorations on the verso in the margin only. . Each painting has some chips parts missing on the edges or with small holes here and there 'e' by and large the images are complete but some may have usual and often typical age-related cracks or splits a touch of fox spots on "c." . Suitable for framing & display. Please review photographs posted to our website for details. . "RICE PAPER" PAINTINGS: Several authors refer to this name rather than the proper name "Pith" paper paintings also can be called "Tung Tsao." . THE CANTON ARTIST OR 'SCHOOL' OF CHEUNG QUA: Cheung Qua was an export watercolor painter in Canton. He and followers of his school produced various single and albums of these paintings which were sold from his studio. . Often his in-house artists began painting on their own thus replicating the techniques subjects and essence of their masters. Because these paintings were rarely signed the one and only identification ever found was occasionally on the album cover or spine with the studio name. . Often these paintings were sold in various shops in Macao the main resting and gathering place of foreigners during part of the year. . REFERENCE: . CLUNAS Craig.: CHINESE EXPORT WATERCOLOURS. This entire book is devoted to Pith or Rice paper paintings. For musical instruments see color plates on pp.50-53 especially plates on pp.66-67 plates 39 & 40 are particularly similar to our examples that is to say by the same or an artist who was in the same house of Cheungqua or that school. CHU Arthur. et al.: ORIENTAL ANTIQUES AND COLLECTIBLES: A GUIDE pp.62-66. THE CHINESE PITH PAINTING COLLECTION AT THE NATIONAL LIBRARY OF AUSTRALIA: An Annotated Guide. Crossman Carl L. The decorative arts of the China trade : paintings furnishings and exotic curiosities. LEVY Howard S.: CHINESE FOOT BINDING: The History of a Curious Erotic Custom. . --. THE LOTUS LOVERS: The Complete History of the Curious Erotic Custom of Foot binding in China. JACKSON Beverly.: SPLENDID SLIPPERS: A THOUSAND YEARS OF AN EROTIC TRADITION. . . unknown

Rare Oriental Book Company, ABAA, ILAB - AN ART AND INTELLECTUAL PROPERTY COMPANY · Vereinigte Staaten2.251,00 $≈ 2.007,13 €

Nu Way Photo Shoppe; Hicks Photo Studio; and othersBiblio.com

Studio Portraits Showing the Vibrant African American Community in the Miami Suburb of Overtown

1920Best.-Nr. COL-4131920. Silver prints 24. Collection of real photo postcard studio-portraits of the African American community of Miami Florida in the 1920s-40s. Eighteen of the photographs are from the "Nu Way Photo Shoppe" a commercial studio located at 939 N.W. 2nd Avenue in the Overtown neighborhood of Miami.The firm was opened by David Jenkins in the early 1940s and catered to a Black clientele. A 1942 issue of "The Crisis" advertises Jenkins' work in Overtown and notes that many of the photographs illustrating the issue were shot by his firm. Included in the collection are portraits of two young women posed proudly in her graduation uniform an identified soldier alongside his sister dapper men in pinstripe suits two-tone shoes and panama hats and equally sharp-dressed women. There are six other photographs from other Miami-area studios. One of a woman seated has an embossed stamp for "Hicks Studio." Run by proprietor James E. Hicks the Hicks Studio was also located in Overtown at 225 N.W. 8th Street and is mentioned in the same issue of "The Crisis." Also included are a fun pair of photos showing a coolly-posed man in an all white suit and a second image showing him with a woman elegantly-clad in all white as well. There are also two photographs in front of the same tropical-backdrop one of a man dressed in a suit with tails holding a cane and bowler and the other of a man and woman. One of the last two photos show a woman in lavish evening wear and the other shows a couple in more conservative attire. The second-oldest continuously inhabited Miami-area neighborhood after Coconut Grove Overtown is located just northwest of downtown. The area was originally settled in the late 19th-century by African American laborers who worked on the construction of the Florida East Coast Railway. Originally known as "Colored Town" it was one of the few places in Miami where black residents were allowed to live. During the early 20th-century Overtown became a thriving cultural center for Miami's black community with numerous businesses restaurants and nightclubs built primarily along Northwest 2nd Avenue where the Nu-Way Photo Shoppe was located. Its thriving Jazz scene earned Overtown the nickname "Little Harlem." In the 1960s Overtown was largely demolished to make way for the construction of Interstate 95 which cut through the heart of the neighborhood. Many homes and businesses were destroyed and the highway effectively cut Overtown off from downtown Miami and the rest of the city. Today revitalization efforts are in place including the restoration of the neighborhood's historic Lyric Theatre. Each 5 1/2 x 3 1/2 inches ; Some with "Nu Way Photo Shoppe" stamp verso one with Hicks Photo Studio embossed credit stamp some with subject identification recto or verso. ;. unknown

Daniel / Oliver Gallery · Vereinigte Staaten2.800,00 $≈ 2.496,66 €

Francesco Capella detto Francesco Daggiù (Venezia 1711 – Bergamo 1784)MareMagnum

Quattro Santi che adorano la Croce, 1749 ca

Pietra nera misure: mm 400 x 255 Pittore. Probabilmente entra giovanissimo nella bottega di Giambattista Piazzetta diventandone senza ombra di dubbio il migliore e il più longevo dei suoi allievi. Ne assimila così profondamente lo stile e la pennellata che ancora oggi diverse sono le opere che dividono la critica circa la loro attribuzione ad una o all’altra mano. Francesco è citato per la prima volta in un documento del 1744 della Fraglia dei Pittori veneziani, tuttavia è molto probabile che già da tempo fosse celebre in città. La sua prima opera documentata è un Immacolata Concezione per la chiesa parrocchiale di Cortona, oggi conservata presso l’oratorio della Villa Tommasi a Metelliano. Nel 1749, grazie all’interessamento del Conte Giacomo Carrara di Bergamo, gli fu commissionata la Pala dei Quattro Santi che adorano la Croce e i due laterali con Santa Lucia e Santa Apollonia per la chiesa di San Martino ad Alzano Lombardo. I dipinti ebbero un grande successo e valsero al pittore la protezione del Conte Carrara ma attirarono l’attenzione anche dei Conti Albani che divennero anch’essi suoi committenti invitando il pittore nel 1757 ad eseguire gli affreschi per casa Albani a Bergamo. Tali affreschi sono considerati dalla critica come il momento centrale dell’attività dell’artista. Pur accettando nel 1755, su segnalazione tra l’altro di Tiepolo e di Pittoni, la nomina a professore del Collegio dell’Accademia di Venezia, l’attività nella bergamasca si fa sempre più intensa. Nel 1762 Capella si trasferisce definitivamente a Bergamo dove apre anche una scuola di pittura particolarmente fiorente. Si tratta di uno studio preparatorio per l'importante pala nella Basilica di San Martino ad Alzano Lombardo, così come attestato anche dalla scritta a matita sul verso, e a giudicare dalle pieghe, fu probabilmente ripiegato e spedito a mo' di lettera. Questo insolito invio di disegni doveva essere una prerogativa dell’autore poiché si conosce un altro suo disegno, proveniente dalla collezione del Conte Carrara ed oggi presso l’Accademia Carrara (Inv. n, 14), che presenta le medesime caratteristiche. Nella metà inferiore del disegno si vede il gruppo di quattro Santi: Santo Stefano a sinistra, San Vincenzo Ferreri, San Francesco Saverio e San Nicola di Bari a destra ritratti in movimentate posture e intenti a rivolge le proprie preghiere verso la parte superiore della composizione dove vediamo due angioletti che sollevano in volo la Croce. Rispetto alla redazione finale su tela vi sono alcune differenze. Santo Stefano anziché avere il braccio sinistro alzato a indicare la Croce ha entrambe le braccia alzate con le mani congiunte in segno di preghiera. Il Santo in piedi risulta leggermente più spostato verso destra, ma la modifica più consistente riguarda gli ultimi due Santi che vengono ricollocati spostando più verso il centro la figura di San Nicola e allontanando sensibilmente verso destra l’ultima figura, a cui viene inoltre cambiato atteggiamento nascondendo le mani che nel dipinto sono invece ben visibili. Il disegno è un tipico esempio dello stile grafico di Capella, caratterizzato dai modi soffici e dal tocco leggero, oltre che dall’uso del gessetto nero. Anche il cielo è realizzato con il caratteristico tratteggio obliquo tipico dell’autore che sfrutta la fragile consistenza del gessetto per creare leggere e movimentate campiture chiaroscurali. Opera in ottimo stato di conservazione eccetto le pieghe descritte. Nonostante la tecnica impiegata, il disegno mantiene tutta la leggerezza e la sensibilità di tocco del maestro veneto. Bibliografia: R. Pallucchini, “Francesco Daggiù detto il Cappella”, in Riv. di Venezia, XI (1932); L. Vaccher, “Opere del periodo bergamasco del C.”, in Arte veneta, XXII (1968); F. Rossi, “I Grandi disegni italiani dell'Accademia Carrara in Bergamo”, Silvana editoriale, 1985.

Il Bulino Antiche Stampe s.r.l. · Italien2.500,00 €

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